Grant Recipients

ROUND 2 RECIPIENTS: Colin Dancel | Debsuddha | Md Fazla Rabbi Fatiq | Atikah Zata Amani 

ROUND 1 RECIPIENTS: Farhana Satu | Anupam Diwan | Saobora Narin | R.A.


We’re happy to have the opportunity to support these four projects through the Round 2 of our Creation Grants. 

Colin Dancel (Philippines) ‘Forms of Grief
Debsuddha Bne
Md Fazla Rabbi Fatiq
(Bangladesh) ‘Dark Garden
Atikah Zata Amani
(Indonesia) ‘Feeding the Nation‘ 

The four projects were selected from over 100 applications by our selection comittee, comprising of Maika Elan, Ben K. C. Laksana and Tammy David.

More details about each of the projects to be announced soon.


Debsuddha (India)

Atika Zata Amani (Indonesia)
Feeding the Nation

Colin Dancel (Philippines)
Forms of Grief

Md Fazla Rabbi Fatiq (Bangladesh)
Dark Garden


This ongoing project is about the journey of my mother where her present dire physical condition due to the post Covid effect is entangled with the psychological struggle due to the loss of her husband as well as my father who lost the twenty days battle with Covid in June 2021 when the massive second wave of Corona Virus has hit again the entire India, and made the people of the country to suffer as immensely as it could be.

Being a son I intend to showcase the way of coping with the silence through the present life of my mother who had thirty five years of married life with my late father, and the very reason to showcase the vacillating situation through my mother is a way to face and fight my own fear of losing my very own people and to ease my mind.

This project is currently ongoing.

Atikah Zata Amani
IG @azatani

Feeding the Nations

Feeding the Nation is a long-term documentary photography project examining the conditions of farming in a rapidly shifting landscape and economy, highlighting the individual and nuanced stories that are often overlooked. I began this project in 2019 as an attempt to document the farmer’s life, future, and relationship with the country’s rapid progression. This project has led me to several other farming communities in various places in Indonesia.

This project is currently ongoing.

Md Fazla Rabbi Fatiq
IG @mdfazlarabbifatiq

Dark Garden

The place is gloomy yet beautiful, fireflies roam in the dark, water streams flow from the mountains, and the scenic beauty of the narrow muddy roads making way across the tea plantation sometimes feel like the world of magic reality. On the contrary, a hand of a worker who got crippled in an accident while working on a machine in a tea factory, brought us back to a complex reality.

In the middle of the nineteenth century, during the colonial period when the Tea plantation started in the Sylhet region of Bangladesh, a larger part of the plantation was occupied by the British merchants. People from different parts of greater India including Bihar, Odisha, Andhra Pradesh and Uttar Pradesh, were brought as workers to the tea garden. It was never easy and extremely hard to work in the enormous acres of plantation due to weather, heat and humidity. Today in Bangladesh there are nearly 167 Tea plantations and about 4,40,843 workers and family members in Bangladesh. These workers have different lifestyles, language and culture. Even after centuries of hardships and domination, they still couldn’t afford to own a piece of land for themselves. No one can save money from their earnings or move to start living in mainstream society. Their lives are tied in a cycle of earning daily wages which is equal to 1.42 USD. Still today even after ages, the plantation workers are living in the small mud houses in the middle of the tea garden. Time is passing generation after generation, but the fate of the Tea plantation workers did not change a little.

The story of this dark garden is complex, where we see the faces of the workers, their culture and beliefs in between the melancholic landscape whose voices could not reach us.

This project is currently ongoing.

Colin Dancel
IG @colindancel

Forms of Grief

I feel a calling to search for something. My gut tells me that I am yearning for my truth – who am I? What makes me? I am learning that in order to find out, I must embrace all that I am. My joy but mostly my pain.

There are many forms of grief. Mine happens to be in marrying movement and photography. Each fleeting moment is a breath, a memory and a reminder of life and being alive. This project, Forms of Grief is both an embrace and a surrender of our grievances, our anger and resentment. I hope to explore and welcome different ideologies that grief is interdependent with such as time, memory, nostalgia and just simply being alive.

This project is currently ongoing.


We’re happy to have the opportunity to support these four projects through the Round 1 of our Creation Grants. 

While it was difficult for our three-member selection committee, comprising of Sean Lee, Anshika Varma and Katrin Koenning, to shortlist the four projects to receive the grant of US$500 each, it was heartening and inspiring to discover the incredible range of works and projects being pursued all across the region by our alumni in spite of challenges posed by the ongoing pandemic. We hope to share more of their talent with you in the future.

The four projects selected for the grant explore different themes and issues, but share a similar honesty and clarity in their visual approach and personal motivations, imbued with a sense of urgency arising from both personal need and external factors.

R.A (Myanmar)
Reverse River

Saobora Narin (Cambodia)
On the Way

Farhana Satu (Myanmar)
জল/জীবন (Water/Life)

Anupam Diwan (India)
Mother’s Garden

Anupam Diwan
IG @anupamdiwan

Mother’s Garden

Mother’s Garden is a work that emerged during initial lockdowns in the country in 2020, as I traveled back with my elder brother to our home in Chhattisgarh, a state which lies in Central India.

In a town called ‘Tilda’ where both of my parents live & work, who are now inching towards their retirements. Around five years ago they built a house here, leaving an ample space to which my mother gave form and life. She had always wanted to move to the city, but it never seemed likely.

Eventually, the garden became her refuge in this sometimes-ill-looking & lonesome industrial town. And so it did for me when confinement had become inevitable and the world narrowed down.

This project is currently being produced as a book. For more details, visit Anupam’s website.

Farhana Satu
IG @aronnika

জল/জীবন (Water/Life)

I belong to the south-western part of Bangladesh, low-lying coastal area, where the largest mangrove forest of the world named Sundarban exists. Located at the confluence of Brahmaputra River and the Ganga river, the villages here is surrounded by crisscross network of rivers and expansive delta with thousand variation of trees, plants and climbers. People share a never-ending relationship with water, nature and forest from the day they have been born.

In this part of the country global warming is increasing the severity and frequency of cyclones, storms, droughts, floods and saline water. Rising sea levels mean that low-lying coastal areas of Bangladesh may disappear altogether. Relative sea level rise in Bangladesh is greater that in many other countries, due to the simultaneous submergence of low coastal areas. As climate change is having an immediate impact on the everyday lives of the people throughout the country, extreme rainfall over Bangladesh’s coastal region is increasing, while silt-heavy runoff from glaciers in the Himalaya Mountains upstream is leading to more flooding riverbank erosion.

Advocates say this creeping salinity is having a huge impact on the environment around Bagerhat district, including a decline in crop yields like seasonal vegetables and stunting coconut and betel plant. Climate experts predict that by 2050, rising sea levels will submerge some 17 percent of Bangladesh’s land, and 25 percent land of Bagerhat district will be submerge.

Yet people are persistently fighting this crisis and trying to exist.

This project began in October 2020 is the first chapter is currently ongoing. 

Saobora Narin

IG @saoboranarin

By The Way

In April 1975, the capital city of Phnom Penh fell to the Khmer Rouge. Infrastructure was damaged by the war, and people were forced to evacuate to the countryside to work in agriculture.

In the late 1980s, after the fall of the Khmer Rouge, people returned to the city with some settling around the wetlands and lakes on the outskirts of the urban areas, making a living from cultivating agriculture and fishing.

More than 40 years has passed since, and peace seems to have been well restored under the iron fist of Prime Minister Hun Sen. Progress in almost every area has led to a city that is rapidly changing, with heritage buildings being destroyed and replaced by commercial buildings, blue curtains walling off construction sites all around, and scaffolding almost everywhere.

Natural resources have disappeared as lakes are filled and converted into land for commercial use. The atmosphere of living with nature has shifted to one of urban isolation and loneliness, under the shadow of an exploding city.

This is an project is a work-in-progress.


IG @arloo_puri

Reverse River

This is a project which reacts to the military regime that has staged a coup on 1st February 2021. But this is not the first time. Myanmar has been under military rule since 1962. During that long time, the false image of the military, systematic racism, patriarchal ideas, and other toxic propaganda was fed to the public.

Perspectives on the military have been significantly different between the Bamar majority and the ethnic minorities, between the urban people and the rural people, and also between different generations. This diversion is exactly what the military has wanted.

The gap of this perspective has become somewhat more diminished after the coup and amongst the new generation like Generation Z who are immune to it to some extent, but there are still many people, mostly those who have been under the military’s influences or have some kind of relationship with them, who still believe military generals are the saviors of our country.

This is a project that reflects the artist’s self-journey of detoxing herself from the lifelong teaching from the school, TV, books etc about the military’s false images.

This project is currently a work-in-progress.